[Commlist] CFP- TRANSLOCAL Journal #3 | Peripheral Cinema(s)

    *TRANSLOCAL*

CALL FOR PUBLICATION

Nr. 3 (2020) *PERIPHERAL CINEMA(S) *

Guest Editor - *Maria do Carmo Piçarra* (ICNova-FSCH e UAL)

Resident Editor - *Ana Salgueiro *(UMa-CIERL, CECC-UCP and CEHA/DRABM)

New Submission Deadline- *15 February 2021**31 March 2021*

A cultural phenomenon generated in the context of an urban, cosmopolitan 
and scopophilic modernity, in which the invention of new devices and 
techniques for registering and projecting images crossed sometimes with 
aesthetic and creative experimentalism, sometimes with journalistic, 
scientific and artistic interest in documenting reality, cinema took on 
an axial role in what Michel de Certeau (1990) called /the practice of 
everyday life/. Decisive for the definition of this visual regime 
simultaneously euphoric and phobic, transgressive and enlightening, as 
Isabel Capeloa Gil (2007) referred to, cinema has definitively 
contributed to the reconfiguration of contemporary societies, to the 
definition of its borders and for the prioritisation of its 
eco-sociocultural systems, by enhancing the flow, conveyance and 
re-imagination of values as well as social, cultural, political and 
economic dynamics that have organised the urban fabric from the end of 
the 19th century onwards.

This prominence did not invalidate, however, that the cinema also 
occupied a certain peripherality in the cultural, artistic and 
scientific systems. This has happened simultaneously because of its 
impure and sometimes massified character, often oscillating between the 
marketing of entertainment and information, and ideological propaganda; 
as well as because of its hybrid speech and radical gesture of the 
cinematographic vanguard, ascertained both at the level of creative 
experimentation in the conception of film language as to the level of 
world images selected and disseminated, daring to give voice to a 
plurality of narratives hidden in the dominant representations of these 
and in these societies, or making visible alternative ways of thinking 
about them, acting on them and reconstructing them in a less hegemonic way.

Both a product and a producer of the contemporary urban world, in this 
oscillation between cultural phenomena of masses and peripheral or 
avant-garde cultural phenomenon, cinema has integrated that duality in 
its own taxonomic classification, which is far more volatile and complex 
than the dichotomy can suggest.

/Peripheral cinema/is one of the terms used to refer to the production 
of films on the fringe of
Hollywood. Since (and surpassing the initial preponderance of French 
cinema) American cinema,
through a production, distribution and screening model, has become 
hegemonic almost all over the world, the cinematography of other 
countries and regions was considered – and thus designated – as 
peripheral, in relation to this supposed centre, which is not only an 
imaginary centre but has imposed a system of representation. The most 
obvious consequence of this hegemony was underlined by Guy Hennebelle in 
the seminal text /Les cinémas nationaux contre Hollywood /(National 
Cinemas Against Hollywood, 1978), quoting Glauber Rocha and Jean-Luc 
Godard when they expose how, through films, a standardization of the 
society which is based on a North American model and that twists world 
reality and diversity was imposed.

This observation has generated an area of identitarian resistance, which 
applies not only to the production of films, but includes reflection on 
the imaginary they offer.
As an alternative to the use of the term “peripheral cinema” – or its 
declension in the plural – the cinema produced outside Hollywood has 
been approached using the "world cinema" category, which Lúcia Nagib has 
been reflecting on from considerations of cinematographic realism, 
proposing alternatively the concept of /realist cinema/, especially in 
the recently published /Realist cinema as world cinema /(2020).

In the mindset of a /world cinema/ as opposed to /Hollywood cinema/, 
thoughts on national cinemas are included, especially to frame and 
analyse the intensification of the European, Middle Eastern, Asian and 
Latin American production at the end of the 20th century; it is also 
important to highlight the contribution of Jean-Michel Frodon (1998) to 
reflect on how nations are projected (or not) through their 
cinematography. However, this paradigm is of limited scope in order to 
consider both the diversity of Hollywood-bound cinema and films made as 
co-production from several countries.

Mention should also be made of the concept of /accented cinema/, 
proposed by Hamid Nacify to place the cinema made by individuals and 
groups with non-western cultural experiences and practices, and its 
fruitfulness to think of alternative filmed representations. The 
archaeology of the development of this concept of /peripheral cinema/ 
inevitably refers to the definition of/third cinema/, proposed by 
Argentinian directors Octavio Getino and Fernando Solanas, and comprises 
integrated practices that include the /aesthetics of hunger/ (Glauber 
Rocha, 1965) and other/cinema of urgency/.

Promoting a reflection on the role of cinema in contemporary 
eco-sociocultural systems, giving special attention to non-hegemonic 
cinema, made in various peripheries (geopolitical, but also 
socio-economic, aesthetic and disciplinary) – peripheries considered 
here from the central-periphery model thought up by the economist Samir 
Amin (1974) –, the 3^rd annual issue of the journal /TRANSLOCAL. 
//Culturas Contemporâneas Locais e Urbanas/(TRANSLOCAL. Local and Urban 
Contemporary Cultures), under the theme “Peripheral Cinema(s)” –, is 
inviting publication in three of its sections:  Essays; Articles; and 
Suggestions for Reading/Recensions.

Proposals are welcome with interest for *written essays and articles* 
(2500 to 5000 words), *visual essays *(up to 5 images + complementary 
text 500 to 1000 words), and *critical reviews* (1000 to 2000 words), 
which, dealing with the theme “Peripheral Cinema(s)”, address (not 
exclusively) topics such as:

● *Cinema, knowledge and power:*

○ hegemonies and peripheralities;

○ propaganda and resistance;

○ colonialism and post-colonialism.

● *Cinema and cartography of the world:*

○ narratives and images of worlds silenced and invisible in art cinema, 
scientific cinema and journalistic cinema;

○ denotative and non-denotative (Nelson Goodman) cinematographic 
representation: documentary, fiction, essay and cinematographic poetry;

○ tourist marketing and /film exoticisation/ of the place and the city.

● *Genealogy and theoretical-conceptual reflection:* /mainstream/ 
cinema, /peripheral cinema/, /popular cinema, national cinema, world 
cinema, third cinema/ (Angela Prysthon), /the aesthetics of hunger, 
cinema/aesthetics of urgency/, /realist cinema/ (Lúcia Nagib)…

● *Film transits and transfers:*

○ movement and film industry: the production of 'local', 'global' and 
'translocal’;

○ intersemiotic translation: cinema ←→ other arts.

● *Places, buildings, and cinematic devices:*

○ architecture and urbanism;

○ technology and /new media./

● *Peripheries of the cinematographic phenomenon:*

○ forgotten cinematographies and filmmakers;

○ cinema beyond film, action, actors, and the director: intersecting 
arts, transdisciplinary meetings and collective creation process.

The proposals for publication will be evaluated according to the 
international criteria of double-blind peer review, and *works in 
Portuguese and English*, with evident quality, that contribute to the 
reflection proposed under the cover theme of the No. 3 of TRANSLOCAL and 
that respect the editing standards adopted by the magazine and made 
available*here* <https://cierl.uma.pt/cierl/?page_id=5070>*_,_* will be 
accepted. The texts written in Portuguese may or may not follow the 
Orthographic Agreement of 1990 and the author must declare the option 
followed in note.

As this is a magazine published in Funchal, proposals that consider film 
production in and about Madeira, and film making by Madeiran authors 
will be welcomed with interest.

Proposals (full text and possible images) should be sent*by February 
15^th 2021 March 31^st 2021*, to the coordinators of the magazine 
*_((translocal.revista /at/ mail.uma.pt) 
<mailto:(translocal.revista /at/ mail.uma.pt)>_*), and should also include the 
following details:

- a summary of the submitted proposed text, in Portuguese and English 
*(up to 200 words)*;

- name(s) of the author(s) and a brief CV*(up to 100 words)*.

**

*By March 30th April 30^th 2021*, the coordinators of the journal will 
inform the authors of the proposals that are accepted and, after 
completion of the final reviews and pagination process, the magazine 
will be published during the first half of 2021.


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